Episode Transcript
Speaker 1 00:00:16 Hey everybody. Welcome to Rowdy Alternative. Uh, today we have Taylor Kimball, who is producer for pretty much everything that's hot out there in Texas right now. That whole area, uh, from Kozel to Cody West, Giovanni, Reed South, all Austin Me's done it all. So we're gonna dive into that today. Uh, how you doing Taylor?
Speaker 2 00:00:39 Doing pretty good. I'm a little tired. I just had a baby like five weeks ago, six weeks ago, so I don't get a lot of sleep. Congratulations. Sleep. But doing pretty good. Thanks. Appreciate it. Glad to be here.
Speaker 1 00:00:50 Right on. You been busy at all with work?
Speaker 2 00:00:54 Uh, I've been pretty busy. Um, I had to wrap up a bunch of projects right before I had a kid. Um, so it's a little slower right now, but I'm just trying to get back into the swing of things and figure out how to do this with a kid. I, I am married and I have a wife and she's at home with the kids, so that helps. But
Speaker 1 00:01:15 Right on. Right
Speaker 2 00:01:16 On. Yeah. Not a lot of sleep.
Speaker 1 00:01:18 Yeah, I could imagine. Um, uh, but yeah, let's dive into it, man. Uh, I guess let's start out like where you're from, uh, your background and like how'd you get your start doing the production aspect in the music industry and everything,
Speaker 2 00:01:34 Man. Um, well I was born in Tracy, California, which is like an hour east of San Francisco. And then my parents moved over or to East Texas when I was one. And that's kind of where I lived until I was 18 in a town called Mount Pleasant. And funny enough, it's 20 minutes down the road from where CO grew up, but we never knew each other until after I'd already moved out of Mount Pleasant. And so, uh, Mount Pleasant's super small town and both my parents are musical. And so when I was a kid they had me taking piano lessons and guitar lessons and I hated it, but I stuck with guitar and, uh, wound up stopping piano, which now I wish I would not have. Um, but yeah, that just, I've always been into, into music and growing up, you know, I got into drums when I was probably like 12 and that's when I was, I really fell in love with music.
Speaker 2 00:02:36 And so I was always trying to find friends who would play guitar or whatever and trying to form a band and, you know, had a few of those. And then, um, growing up in a small town, if you're like decent at anything, they think you're incredible. So my whole life it was always like, oh, Taylor's so good at drums. When in reality I was like, just, okay, because I, I moved to Fort Worth after Mount Pleasant and you start meeting real musicians and you're like, oh my gosh, I'm not good. Um, so I, straight outta high school, I started touring in a metal band called A Bullet For Pretty Boy. And I did that for like three years and I quit cuz I was just tired of, I, I didn't like the road, I didn't like being gone. Like, I'm super introverted, homebody, you know, I don't really like to go out much, but, so I got off the road and I was just like, man, what am I gonna do?
Speaker 2 00:03:40 So I started making beats on my computer and it was like e d m music and I did a record of that and it's super cheesy stuff, but that's like kind of what got me into recording. I was just like, dude, this is awesome. Like I can create whatever I want. And so, and and when I, when I had formed those bands when I was younger, I, my parents had a computer and I bought this program called Reason and it's like a recording program. So I was always kind of dabbling with it as a kid. Um, but I, I didn't really know a ton about it. And so I met, or one of my friends was a Texas country singer and I didn't know what Texas country was, you know, I grew up listening to Metal, so I hated country music. I just thought I never gave it a shot.
Speaker 2 00:04:29 Cuz if you, you're a metalhead, you're, you just think everything else is dumb, right? And so he was like, Hey man, you wanna play drums for me? I'm, I'm doing all these Texas country gigs and it's just a ton of cover songs. So I was like, yeah, sure. So he sends me a list and I had never heard of anybody on it. And there was like Stony Larou and Randy Rogers and, you know, Casey Donahue, all the classics. And so that kind of opened my eyes to that whole world and I was like, oh, this, this isn't so bad. Um, so I started playing gigs with him and then he was like, I wanna record a single. I was like, well I, I kind of know how to do it. So recorded a single with him and his name was Jordan Kingston, he's from Mount Pleasant too.
Speaker 2 00:05:16 And then co heard that and we got a show opening for CO and the Stockyards in Fort Worth. And this would've had to have been 2000 and uh, 12, 13 maybe. Ooh, wow. Okay. And so that was the first time I'd, yeah, that was the first time I'd met CO and then Andreas or Dre CO's now TM is also from Mount Pleasant. Didn't know him either until I moved away, but he was playing drums for another guy in Mount Pleasant named Bo Hennessy and also Trey Huber. And he heard the song I did for this Jordan Guy. He's like, dude, I wanna record a record with you with this Trey Huber guy. Turns out Trey is CO's cousin. So I do this record for Trey Co hears that, then I get a call from CO and he is like, Hey, I want to cut a record with you.
Speaker 2 00:06:08 And then we did an noise complaint and it was just like, then I was in this whole country world and I was like, what happened? Super thankful to be here. I love it. You know, I love the music now. Right. And that's kinda like when co came to me, he was, he knew I'd toured in metal bands and he was like, I'm wanting to do like a heavier, you know, country thing. And the words he told me is, he was like, I want it to sound like it was recorded in an old barn. I was like, okay. And he introduced me to Cross Canadian ragweed. Mm-hmm <affirmative>. I was just like, man, there's this whole world that I had n no clue about and the noise complaint happened and I was just like, whoa, well guess I'm guess I'm doing this. And I've been super fortunate, like CO's been so loyal, which is like bringing me along for the whole ride. So it's been awesome.
Speaker 1 00:07:02 So, um, you said that he wanted to be like a heavier version of like the typical Texas country sound. So that was for noise complaint because I know he progressively got even like more rock oriented. Wow, okay. So even back then he wanted it to Yeah. Be more loud and heavier. Okay.
Speaker 2 00:07:22 Yeah. He was like, I want loud guitars, so I want it to sound like Nirvana ish, you know, just grungy
Speaker 1 00:07:29 The grungy sound country. Yeah. Yeah. So you didn't have any like prior like education with like recording or production or anything? You just kind of hopped into it?
Speaker 2 00:07:42 Yeah, like, uh, going back to when I was a kid, like I, uh, my parents or my family would always fly to California for the summers, like fr where my mm-hmm. <affirmative>, uh, where we came from or whatever. And, and the airport there would always be these recording magazines or Guitar World and I would always grab the recording one and I would just, you know, read through it and stuff. And so I always was just trying to keep up. Um, but yeah, no school and noise complaint was the first full length that I ever produced and it was just right place, right time and so I kind of had to learn cuz you know, CO was blowing up so fast and I was like, dude, if I wanna stay a part of this team, I gotta get good like real fast. Cause I, I don't wanna hold KO back, you know?
Speaker 1 00:08:33 Yeah, I was about to say that's like the perfect like record to start on, just looking back on how big it got even today.
Speaker 2 00:08:42 Yeah. I still remember making it and we half that record we made in his bedroom and like, I just took some gear up to Stephenville, set it up in his room and we would just work. And I just remember as soon as he showed me February 28th, I was like, oh dude, this is a good song. And l j t was like right around the corner and I was like, dude, do you think you're gonna get to play the main stage at L J T? And he is like, nah, I doubt it because I was like, dude, this record's cool, but I mean we ha we had no clue what it was gonna do. There's no way, you know? Right. But
Speaker 1 00:09:27 Are there any,
Speaker 2 00:09:28 Um, and looking back at that record, oh sorry, go ahead.
Speaker 1 00:09:31 Go ahead. No, go, go ahead.
Speaker 2 00:09:33 I was just like, looking back at that record, it's hard for me to listen to from a quality standpoint cuz it's just like, but it's also, you see the growth. Like that's another cool thing is like me and Co started basically at the same time together. We didn't know what we were doing. And it's like, I feel like if you listen to the records in order, you can hear a progression from both of us on both sides. And it's, it's just kind of cool in that perspective. But yeah, it's hard for me to listen to it cuz it's just like the mix isn't good and a lot of stuff I'm like, oh my gosh, but you know, none of that really matters.
Speaker 1 00:10:10 So. Right. I mean that's part of the process even with like, whether it be like you behind the scenes or the artists themselves, it always, it's just I need to outdo my last project as I go on. Yeah. And that's what makes, that's what makes music so unique.
Speaker 2 00:10:26 Yes, I agree.
Speaker 1 00:10:28 Yeah. So, um, are there any like, I guess, I guess you could call 'em like influencer influences, like inspirations with like who, if, who do you look to, like when you're, uh, producing something, mixing something, it's like, okay, I I like the way this guy did it. Or is it more just like you kind of doing your own thing?
Speaker 2 00:10:51 Man, it's always changing. Like, it's really like I'll hear a record and I'll be, oh man, this record's incredible. And then I'll go and see who did it and then I'll go and look at their, all the records that they've done. Um, but it's more so like, I'll, I'll hear records that I think are awesome and I'll just get obsessed with them or I'll be like, I wanna make a record that sounds like this. Um, but as far as producers go, like I really, there's a guy named Jay Joyce who's huge in Nashville. He does like, uh, all of Eric Church's stuff and Miranda Lambert and Laney Wilson. But what he's doing to me is super cool cuz he came from the rock world and so his productions tend to have a little bit more guitar and stuff, but it's a nice blend. Um, but other than him it's just, I don't know, I'm always looking for inspiration, but like I said, I'll just find an album like, dude this is awesome. But, um, Chris Lord Algae is a mixer and he was like always my idol and always what I was shooting for sonically. Um, but yeah, other than those two dudes, it's just kinda, I'm always looking for cool records to be influenced by.
Speaker 1 00:12:09 Are there some records that come to your mind when you think of that? Like, this is like the epitome of what I want to make one day?
Speaker 2 00:12:19 Man. Okay. Uh, so back when I, before I even knew who NewCo I was playing with that Jordan Guy and that's when Florida Georgia Line hit the scene. I didn't know anything about national country versus Texas country. I didn't know anything. I just remember hearing Cruz, uh, on the radio and I was like, oh my gosh, dude this sounds, this sounds like a rock record to me. Like it sounded massive. I was like, I wanna make, my goal is to make a record. That sounds that good. And that's actually Joey Moy, who's another massive producer in Nashville. Morgan Wallen Hardy. Yeah. And he's doing super cool stuff. Um, but now there's this band called Tiger Cub and I think they're from the UK and they put out a record, um, I forget what the record was, but it sounds super cool. And I looked up who produced it and it's this guy named Adrian Bushby who's from the UK and he's engineered Foo Fighters and Muse.
Speaker 2 00:13:23 And so I actually, that record came out right before we started Hell Paso. And so I'd hit him up and I was like, dude, I'd love for you to come engineer this co record cuz I love this ricki you did with this tiger cub band. And he flew over and engineered the record for us and it was awesome. So he's a huge influence for me. But yeah, uh, Laney Wilson's new stuff is incredible in my opinion. And that's, um, uh, drawing a blank. The guy just said one of the producers can't his name. Oh yeah, yeah. But yeah, um, yeah,
Speaker 1 00:14:06 Yeah.
Speaker 2 00:14:07 And actually speak, there's this band called Badflower and their records to me Oh yeah. Are always like, sonically awesome. So I'm always kind of referencing them and yeah. But a lot of times it's like the band will come in and they'll throw me some references and I'll just kind of deep dive into that, what whatever they're listening to, so.
Speaker 1 00:14:31 Okay. That kind of, that kind of leads me into my next question. Um, how involved do the artist get in the, uh, recording process? And like how, I'm sure you're fine when they fine with it if they do, but like how involved, is it the pen or do you kind of invite 'em to come and like say, Hey, what do you think of this? Like,
Speaker 2 00:14:53 Man, it, it varies from artist to artist. Like CO is very much a producer in his, in himself, like he's got the craziest ideas and they're always, most of the time they're always great ideas and it's just like, I just kind of get in the room with him. Like, we've worked together so long now that I, I feel like we kind of know what each other wants, so it's a lot quicker now, but like at first I would just kind of be in the room and let him do his thing and just help out where I could. Uh, but some ar other artists, you know, they need a lot more help and they just don't quite have as clear of a direction of what they want as some others do. Like co knows exactly what's he want, what he wants and that makes my job easier cuz I can just kind of go after that. Um, so yeah, just really varies. I tend to give the artist a lot of control and freedom, um, if I trust them and know that like, okay, this is really what you want. All right, well let's do it. But some will come in here and be like, I think I wanna sound like this, or I think I wanna sound like this <laugh>. And it's just kind of a journey, you know, finding that which, you know, everybody's gotta go through that stage at some point.
Speaker 1 00:16:22 Right. Um, so this is personally, this is just a question that I've been clueless on forever cuz like I write these articles for Raise Rowdy and whenever I do maybe an album review or any kind of review and I like to go into the production like crew, whoever's behind that, I have no idea what to say besides produced by, and I know there's mixers, I know there's engineers. Can you tell us listening who's as clueless as I am, what the difference is between a producer, a mixer, and an engineer?
Speaker 2 00:16:56 Yeah, so, and nobody really ever, like if I'm hanging out with my wife's or if we're hanging out with my wife's friends and they ask what I'm doing and I say I'm a pr, nobody has a clue. So it's, it's just one of those weird jobs. But yeah, a producer is basically a manager of the project. It's like, it's my job to find the musicians, you know, book to studios, make sure we have all the songs, and then also, you know, if I wanna hire an engineer who, who do I think would be the best fit for the record or mixing or whatever. Um, so yeah, basically like Cole will say, let's make a record. And I'll be like, okay, cool. Uh, and he'll start sending me songs and we will get songs together and then, you know, like he Paso I was like, Hey, we should do it.
Speaker 2 00:17:48 Or actually he brought up, uh, Sonic Ranch, but I was looking everywhere. I was like, do you wanna do it in la? Do you wanna go to Nashville? Do you wanna do it in Texas? And we looked at studios everywhere and we just kept coming back to Texas and it's like, man, there's a little bit of that pride. It's like, what? Why do we, why do we need to go to Nashville to do this? You know, let's, so yeah, so we booked Sonic Ranch and then I wanted to bring in Adrian cause I thought he'd be a good fit. So yeah, producer is just basically like, you are just in charge of the whole project and making sure everything gets done as well as being a big part of the creative process. And then the engineer is basically the guy running all this stuff and it's like, you kind of tell the engineer, it's like, Hey, I want the record to kind of sound like this.
Speaker 2 00:18:39 And then they start dialing in tones for you and you're like, yeah, that sounds awesome. And then, uh, a mixer is the second to last step. So basically once the record's completely recorded and edited and stuff, you either send it off to a mixer or I, I mix pretty much everything I do. So then I just start mixing it. And then once I get a mix where I feel like it's pretty good, I'll send it to the artist and then they'll send me feedback like, Hey, could we turn the vocals up? Or whatever. And then, uh, then it gets sent to mastering. And what mastering is is that's, mastering is probably the hardest thing to explain cuz it sounds so basic, but it's really not. But you send mastering the mix and it's just a, it's a audio file of the song and their job is to kind of make it as loud as everything else while shaping the overall sound of it and just kind of, you know, if they hear anything that's popping out, they just kind of tweak it a little bit. But yeah, that's kind of the layout. And then you've got, you know, musicians and assistants and stuff other than that. But
Speaker 1 00:19:49 Yeah, so it's a, it's bigger than just like a one person thing I guess, but, but you said that you do it all, so that's depends on the budget has to take some mm-hmm. <affirmative>.
Speaker 2 00:20:02 Yeah. Yeah. Like if it's a, if it's not a label budget and the band's not, you know, making bank and the budget's a lot smaller than, you know, we'll have to do everything here ourselves. And it's kind of like, and I've got a full-time assistant, his name's Adam or Banick and he plays on pretty much every record I do and he helps engineer and stuff and like, he's a huge part of it. So yeah, when the budgets are smaller it's basically we're doing everything in-house.
Speaker 1 00:20:36 Okay. So, um, another thing I wanted to ask you is, um, I'm not going to ask you to pick the favorite record you did cuz I feel like that's like picking your favorite child. So, um, is there like a certain You
Speaker 2 00:20:49 Gotta get
Speaker 1 00:20:49 Me fired album? Yeah. Oh, okay. I mean, I mean like when you, yeah, when, when you first like, was there a certain record you could pinpoint, I know you were talking about noise complaint earlier, but like when you were thinking like, wow, like this is something like, this is going to be like big or was it just like, yeah, out of left field you're like, holy shit, this just happened,
Speaker 2 00:21:12 Man. I mean co you know, he's the first, again, first full length ever did. And so he really like, you know, I can't not say co and noise complaint, it's, it's not my favorite record just cuz of the issues I pointed out. Yeah. But, um, that was definitely like, once that started gaining traction, I just remember I was like, oh dude, I'm, I'm good to go. I'm good <laugh>. And then I, I was like, my phone's gonna start blowing up. And then I didn't get a single phone call. Actually I take that back, Reed South Hall called me cuz Dre told him to uh, hit me up. Um, but other than that it was like, man, nobody's, I thought people would just know. And then I met my now wife and she's like, well why don't you just start reaching out to bands? And I was like, I don't know, I don't, that feels weird.
Speaker 2 00:22:07 And then as soon as I started reaching out to bands, they were like, oh dude, yeah, we had no clue. We'd love to work with you. And I was like, I'm in <laugh>. So I just kinda sat around for a year waiting for something to happen, being dumb stubborn. Uh, but yeah, that was like, as soon as I started taking off, I started sweating a little bit cause I was like, oh my gosh, I think it sounds bad. I really hope co cuts another record with me so I can redeem myself. So he comes back and we do Harold Sa High, you know, I felt like it was a little better, but then after it dropped it, same thing. I was like, oh my gosh, I hope he comes back cuz I <laugh> I feel like I'm getting better. And so it's been like that. But I mean, he, Paso for me is definitely my favorite record that I've done so far. But, you know, it was just such a big production and we had basically unlimited budget and you know, co was bringing in some killer songs and all that. But I mean, dude, I truly do love every record that I've worked on. Mm-hmm. <affirmative>. But you know, CO's been my day one, so it's like without, without co I would not have met any of my other bands so.
Speaker 1 00:23:18 Right. Yeah. I get what you're saying, but like, and you could brag here for a minute cuz this is just an observation I made. Uh, when you look when, so if you people go to your website and they look through your portfolio and at least from what I was a fan of, like when, cuz I used to live out out in tech, uh, Texas and Oklahoma area and I first got into the to Co very late. But like I went back, listened to all his stuff, then I went to Reid, then Austin Mead then branched out and all these other guys and I looked on your website and it's like, everybody that I listened to you produced like everything. So it like, that was funny to me. And I was thinking like, do you like think about that? Like, cuz it's, it's, there's no lion that these guys are like super hot out there right now. And like, do you think like, wow, I have a hand in every single one of these, you know, whether you like it or not, you have a hand in it. Like they're progression and, and all the fame or accolades they're getting. Like does that ever come to mind to you?
Speaker 2 00:24:25 Yeah, it's definitely tempting to think about that, but one good thing about my job is that every day I'm in here. And so I don't like when CO comes in here, it's usually just co And so I'm not seeing, you know, the fans going crazy and with any artists that I work with, it's like, yeah, I'll go to shows and stuff and it's pretty mind blowing, but I'm not constantly seeing all the hype going on. And I think that's a good thing. Um, I try not to think about it cuz it's funny, I've got a buddy who hit me up one time and he was like, Hey, I'm at this college party and there's these people talking about how much they hate all these new rock bands in the Texas scene and they just like listed off co Austin Gio Reid <laugh>. And so I was like, man, that's, that is humbling. So <laugh>, there's, I think there's, you know, it seems like CO's kind of equaled out his fan base now, but it just, there's definitely like I know that there's people who don't love what I'm doing and then there's people who do and it's like, you're never gonna make everybody happy and I'm constantly
Speaker 1 00:25:34 You'll have that.
Speaker 2 00:25:36 Yeah. And I'm constantly just looking at the records that I've done. I'm like, man, it, I could have done a little bit better. So it's, I, you know, I'm always looking at it in that sense and hoping that I'm not ruining this Texas scene here with loud guitars. Well I, I,
Speaker 1 00:25:54 I frankly think it needs to be shaken up a bit. It was got a little stagnant from what I remember. So I personally, I think, I mean, hell, you look at all the people showing up to these shows, like you said, you, there's no denying that making waves everywhere.
Speaker 2 00:26:09 Yeah. It's been, it's been crazy And, you know, co is, or most of the artists I work with, you know, they're such great personalities that it's just like mm-hmm <affirmative>, it felt like refreshing once all this stuff started happening, at least to me. Cuz you know, I grew up on rock and metal and I was like, oh, this is cool to me. I like it. So that's all that matters and the artist likes it, you know, that's the most important thing. Right.
Speaker 1 00:26:38 Yeah. So let, let's talk about SARS Sonics. Um, I guess just, uh, tell me what it's all about. Uh, introduce it to everyone listening,
Speaker 2 00:26:51 Man. So, sour Sonics is a record label that I started, uh, I think I officially announced it like a couple months ago, but I've been, uh, dreaming of doing a label for close to 10 years now. I read this book, uh, by La Reid, who is a producer. He was actually one of the people on The Voice at one point, but it was just his whole story. He started out as a musician and then he met, um, Babyface, who's another producer and they started writing songs together. They discovered, or they basically created TLC and like all these huge pop acts in the nineties. And, and then he went on to start a label with Babyface and then he sold that label. Then he got, you know, a position at a bigger label and just kept, kept going up. And I was like, dude, this is, that just sounds awesome.
Speaker 2 00:27:45 So I've always wanted to start some kind of label and right now it's like I kept meeting artists that I wanted to work with but maybe couldn't afford to make a record. And I was like, well, I gotta have some kind of outlet to where I can still work with them. And it's beneficial for both parties does. It's very much like a, you know, try. I'm, I'm just figuring out what it even looks like. And so I've got Mitchell Ferguson and Holly Beth on it right now. Mm-hmm. And we're both working on records for both of them, but yeah, it's just a lot of like, what does this actually look like, you know, and what does it take to run a label? And it's not as easy as I thought it would be, so, but you know, nothing is
Speaker 1 00:28:35 Right. Yeah. That, uh, new Mitchell Ferguson, he's a great guy and uh, that, that new song you put out that is so different than like anything I've heard in a while, like in his group of artists that he hangs around with, it's so refreshing.
Speaker 2 00:28:50 And when he, he brought, so I, I've been working with both him and Holly for close to two years now, just like trying to find their sound and you know, we cut a whole record with Mitchell and it was like a very alternative rock, just like straight up rock album. And then he brought me f y s, he wrote that song and I was like, oh dude, this is it. And so as soon as we cut that song, he just started writing that style and we have, I mean, 10 to 15 songs similar to that that we're working on for the album. And then, uh, so yeah, that's been super exciting. And Holly too, we're killing it. Um, we're still like looking for songs for Holly and she's still writing and stuff and her and Mitchell are doing some co-writing together. So yeah. But yeah, Mitchell, that song is when he showed it to me, I was like, oh dude, this is sick.
Speaker 1 00:29:52 <laugh>. Is there any, um, I know you probably can't give anything away for these upcoming things, but is there anything you can like tease that you're working on without getting in trouble by the artist <laugh>? If not, it's
Speaker 2 00:30:07 Cool. Oh man. Well, let's see. Co I think most, I'm pretty sure everybody's advertised, but Austin's got a record. Austin Meets, got a record dropping on mm-hmm <affirmative> Friday, I believe Friday. And then Cody's got a, Cody West has a record dropping hopefully this month. And Gios got a record dropping sometime soon, <laugh>. Uh, and yeah, and then Kos just dropped. So it was like, I had been working on these records for like a year all, all at the same time and it was getting a little stressful. But yeah, they're all kind of dropping at the same time and there's a couple other things that I'm not at liberty to say, but
Speaker 1 00:30:54 Okay. Yeah. Is there, is there a certain amount of time that it typically takes to make like a full length album or is it different for everyone?
Speaker 2 00:31:04 It's getting faster. Like, um, cuz when I made noise complaint, I had no idea what I was doing. So it's just like, we had to recut the guitars I think two times just cuz I was like, oh my God, dude, I don't know how to dial in these tones. And it, you know, it took me a while and that I think probably took close to two years to make, but it was just like, I would go hang out with CO for like two weeks and we would work on the record, then it'd be a few months and then, you know, we'd start working on it again. So it wasn't just like two continuous years. But, um, and then El Paso, you know, we, he started riding for it probably mid to late, um, 2021. And then we went in on January of this year and cut it in three weeks basically at Sonic Ranch. And then, you know, it took me like a couple more months of just needed some musicians for certain songs and I would either send songs to them and they would send 'em back or whatever. And then editing and mixing and mastering. So usually from start to release, I would say expect a year, but it can go faster, you know, I think Nashville works a little bit faster than that, but they're cutting potentially five to 10 songs a day. Right. We're, we're not doing that here, but
Speaker 1 00:32:36 <laugh>. So is there any, um, is there any, I guess advice you could give to like, like anyone who wants to go down your path that you chose? Anyone who wants to produce, whether they start in their bedroom or just don't know where to start at all,
Speaker 2 00:32:56 Man. Yeah, YouTube like that I learned everything on YouTube. And then there's other websites like, there's this one called Mix with the Masters and there's pure mix. Like there's multiple websites that you can, uh, you know, pay a yearly fear whatever. And it's just like all the top people in the industry are sitting down and going through how they did this or whatever and it's just like, you gotta soak everything in and you just gotta start trying to make records. Like you, you're not gonna make money right up front, you're just gonna have to find bands that just either wanna make a record and have no money or they're your buddies or whatever. But it's like, you just gotta try it because at least for me, it's like I, I learned best hands on so, you know, I'll, I'll do a record, it'll get released and then I'll listen to it a month later.
Speaker 2 00:33:51 I'm like, God, this is te this sounds terrible. Here's where I can improve on it. It's like just constantly, you know, you have to release stuff. I will say that like if you, you can't just sit on things. It's very tempting because you're like, man, I, this isn't, this isn't as good as, you know, the best stuff in the world. Well if you don't release it, I don't really think you're gonna get better cuz it's just, I don't know, there's something about releasing it into the world and you know, you can't change it and you're like, man, that's permanent. Next one I need to get a little bit better in this area or whatever. And yeah, I mean it's just, it's a grind and there's yep. Thousands of kids who wanna do this. So it's like you just gotta outwork everybody else and you gotta get a, a little lucky like I met co Right. You know, and it was just right place, right time. But yeah, just don't, if you really, you gotta really want it. I'll say that it's, it's a lot. You just gotta really want it.
Speaker 1 00:34:56 So is there like a certain g is there a certain genre that would be easiest for someone in your position to engage in? Or is it a good, is it kinda even playing field with all of them?
Speaker 2 00:35:13 Um, man, it, you can pretty much make any genre of music on a laptop now, so it's like, there's really no excuse. Um, but I, I honestly think that the Texas scene is great for it because the fan base here is just so accepting and they're very accepting to different things. And so it's like I, you know, getting into the Texas scene, it was smaller and it's, you know, still a smaller scene but it's getting bigger. But it's like there's not thousands of producers in the Texas scene trying to make it. It's like there's a handful. So it's like there's much more talent to work with. So, you know, don't I, I don't know. I would say find a scene that you just like the music of and just try to make records you like, cuz if you're constantly trying to make something just to make it, I don't know that you'll ever quite hit it. And if you do, you're not gonna be happy. It's gonna be like, man, I'm making music that I hate just for a paycheck or whatever. So yeah, just always follow what you like and just try to find, you know, the bands that you think have potential and see what happens.
Speaker 1 00:36:36 Awesome man. We could end on that man. I appreciate you hopping on and talking to me. Glad we could finally make it work.
Speaker 2 00:36:43 Um, yeah dude, absolutely. Thanks for having me.
Speaker 1 00:36:45 Yeah, go ahead. No problem. Go ahead and drop, uh, like wherever people could find your socials or if, if people would want to be interested in like maybe hiring your whatever, go ahead and drop whatever plugs you got.
Speaker 2 00:36:58 Uh, my Instagram is Taylor j Kimball and then, um, on my Instagram bio I've got my website link. You can go to that and see everything I've done. And there's also like a connect tab in there that you can email me and just send me a submission and send me some demos. I love hearing new music, always looking for new bands, so.
Speaker 1 00:37:25 All right, you guys heard it here. So, um, go ahead and hang tight Taylor, when, when I sign off here we'll finish everything up. Uh, but everyone else, thanks for listening. Uh, this is Rowdy Alternative. Y'all have a good night.
